We Are Hungry Men


We Are Hungry Men.

On the oddly-sequenced LP David Bowie, sandwiched between the hushed, eerie “There is a Happy Land” and the saccharine “When I Live My Dream” is Bowie’s abrasive science-fiction radio play “We Are Hungry Men,” which opens with a frantic “BBC announcer” bewildered by cities apparently overpopulating by the hour, offers a comic-book Nazi rant interlude and reaches its insane peak with Bowie chanting like a Dalek, over shrieking horns:

I’ve prepared a document legalizing mass abortion!
We will turn a blind eye to infanticide!

“We Are Hungry Men” may be one of the more embarrassing things Bowie has ever recorded but it’s also a spectacular car wreck of a track, whose chorus is, perversely, one of the album’s catchiest. As with “She’s Got Medals,” it’s Bowie’s first crack at a theme that will preoccupy him for much of the following decade—here, messianic fascist political figures and the dystopias in which they come to power (“Cygnet Committee,” “The Supermen,” much of Diamond Dogs).

The lyric’s specific enough (people arrested for breathing too much air, etc.) that Bowie must have been reading some contemporary science fiction. So here’s a brief generalization on postwar SF, which you can feel free to skip.

Where much of US postwar science fiction is visionary, po-faced, curious about drugs, ultra-masculine and often rife with can-do positivism (Alas, Babylon offers nuclear war as a means of restoring America’s pioneer spirit), UK SF is far more pessimistic, full of ruin and doomed societies.

The UK of the ’50s and early ’60s produced John Christopher’s The Death of Grass (grains disappear, civilization ends) and John Wyndham’s Day of the Triffids (plague, then plants kill almost everyone) and The Midwich Cuckoos (your children are evil—they will kill you). Most of all, there were the great postwar British dystopians JG Ballard (Jonathan Lethem: “Ballard in a grain of sand — the visual poetry of ruin…the convergence of the technological and the natural worlds into a stage where human life flits as a violent, temporary shadow“) and Brian Aldiss. Aldiss, by 1965, had written novels about humanity being reduced to a bestial state and hunted by insects (Hothouse), human civilization as a generations-long sham (Starship) and the grim spectacle of a world with no children, only the aged (Greybeard).

So in “We Are Hungry Men” Bowie is working in an already well-tilled field. He’s also flashing on a hip topic of concern in the mid-’60s: global overpopulation. This would come to mainstream attention with Paul Ehrlich’s The Population Bomb in 1968, but the concept was already in wide circulation before then. Images of humans packed like sardines in cities, living ten to a room in teeming high rises, are all over the late ’60s: the Star Trek episode “The Mark of Gideon” and John Brunner’s novel Stand on Zanzibar, both from 1968, being just two examples.

But the key inspiration for Bowie’s lyric may have been Harry Harrison’s Make Room! Make Room!, serialized in the August to October 1966 issues of the British SF magazine Impulse. Make Room! (set in 1999, in a New York City overrun by 35 million people) is better known as its movie adaptation, Soylent Green. “Soylent Green is people!” is a better catch phrase than “we are hungry men!,” though.

Recorded 24 November 1966; released on David Bowie.

5 Responses to We Are Hungry Men

  1. Brian says:

    I’ve always felt that this album has a Mothers of Invention feel to it. If I remember right, David covered their song “Who are the Brain Police?”. This is probably just my imagination though, as the song was released only a couple months before this one.

  2. Pinstripe Hourglass says:

    Excellent write-up on US vs UK sci fi. The US would catch up with Great Britain on pessimistic sci-fi in the late 60s, 70s and 80s when writers like Vonnegut and Dick started to get some of the recognition they deserved.

  3. phaedrusnyc says:

    Certainly the differences between US scifi and UK scifi at the time seem painfully natural in retrospect. England had suffered enough privation and physical destruction during the war that it took years to clean up, literally and figuratively. The UK had “won” the war at the cost of losing its empire. And despite the cheery optimism of the mods (who certainly benefitted from the growing welfare state), the end of the war was the beginning of an uncertain future for Britain. Meanwhile, America found itself becoming a major superpower, a conquering nation, and managed to do it without the war ever coming to the soil. The England Bowie grew up in was fresh enough from th war that he almost certainly played in and around ruins. The fact that America eventually caught up to this pessimistic attitude has more than a little to do with the growing realization that the nuclear bomb could kill you without your country ever being invaded. But it wasn’t until Americans started being sent to die in places they ey had no moral stake in that they fully caught up with European dystopian attitudes.

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